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Genre, Authorship, and Quality in Teen TV horror
Rebecca Williams

The Vampire Diaries began life as a series of novels before being adapted into a television series screened on the CW channel in the US and ITV2 in the UK. This article explores how the show contributes to debates over genre and authorship within the context of the TV vampire via its status as a teen horror text. It also investigates how the show intersects with debates over quality television via the involvement of teen-TV auteur Kevin Williamson. In exploring genre and authorship, the article considers how The Vampire Diaries functions as a teen drama and a TV vampire/horror text.

Gothic Studies
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Lindsay Anderson’s private writing
John Izod, Karl Magee, Kathryn Hannan, and Isabelle Gourdin-Sangouard

Diary or journal? Lindsay Anderson’s diaries surprised the archivists in our team because they are so neat and well ordered. For the most part they read as though everything had been planned out and sifted through before being written down. This suggests that he went through a careful decision-making process, whether conscious or subconscious, about what to remember and what to omit. Occasionally we

in Lindsay Anderson
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Frederick H. White

7 Diaries and death The attitude which the Allied Governments have assumed with regard to tormented Russia is either betrayal or madness. Leonid Andreev, SOS (1919)1 For most of 1912–13, Andreev suffered from constant migraines, insomnia and a pain in his arm. Finally in 1914, he decided to go to Rome with Anna and Savva to convalesce.2 The final act of Andreev’s life was one of failing health and diminished artistic abilities. These problems were complicated further by war and revolution, which monopolized a great amount of Andreev’s attention. This chapter

in Degeneration, decadence and disease in the Russian fin de siècle
Frederick H. White

3 Diaries and diagnosis If someone were to glance at me sideways, then there is no way that he would think that I was insane. The thing is that I am a cunning madman. I sanely speak about everything, about which other people speak, giving the appearance that I am interested in everything that interests others – in a word, in my external appearance there is nothing precisely that distinguishes me from my surroundings. I do not distribute by word or suggestion this singular idea, which alone composes the contents of my entire internal life, alone makes my nerves

in Degeneration, decadence and disease in the Russian fin de siècle
Bridget Jones’s journey from the ‘edge of reason’ to marriage and motherhood
Nigel Mather

In April, 2001, Screen International reported that Bridget Jones ’ s Diary (Sharon Maguire, 2001) had ‘scored the biggest opening of any British film ever at the UK box office’ on its opening weekend. 1 A few weeks after the sequel, Bridget Jones: The Edge of Reason (Beeban Kidron, 2004), opened in cinemas during late November, 2004, Working Title Films paid for a full-colour one-page Screen International advertisement announcing in bold capitals that ‘BRIDGET’S BACK AND BIGGER THAN EVER!’ This promotional page reported that the film was the number one

in Sex and desire in British films of the 2000s
Working experiences of a non-fiction filmmaker
Author: Alan Rosenthal

This book shows what happens from the birth of the idea until a film is completed. This means covering all the hurdles, and the bumps, and other obstacles along the way, including inspiration, proposal writing, finance and marketing. The book shows how the author developed, produced, and worked on seven films. Four are major documentaries, the fifth a feature-length docudrama, and two are works in progress. All have and had multiple problems. None of the completed films were easy to make. The book discusses the pros and cons of working with partners, and shows what happens when there is harmony, or where things break down through disagreements. The problem of raising a budget comes up in all the films, and is discussed most thoroughly in the book. The book also addresses the difficulties of working internationally, and shows how infinite patience and stubbornness can be required when working with a broadcast station. At the end of several of the chapters the author has also added a short section called 'Production notes.' These notes usually amplify and explain further some central problem raised in the chapter. One of the chapters in the book deals with the specifics of making one particular family film. The notes which follow, however, tell people about making family film in general.

Zoë Hudson

On Tuesday, 28 August 1582, Richard Stonley, a civil servant at Westminster, made a note in his diary of a reward of two shillings paid to one of his household servants for bringing the news that his daughter had given birth to a healthy son, also named Richard. 1 The next day, Stonley attended the christening of his new grandson, who had been born a few days previously. The christening was held at East Ham, a village located a few miles to the east of the city of London, which was the home of

in Religion and life cycles in early modern England
Jessica L. Malay

Countess of Dorset’s Diary, 1616, 1617 and 1619 2 January 1616 Upon New Year’s Day I kept my chamber all the day, my Lady Rich1 and my sister Sackville2 dining with me, but my Lord3 and all the company at Dorset House went to see the masque at the Court.4 The first day Sir George Villiers5 was made Master of the Horse and my Lord of Worcester6 Lord Privy Seal.7 Upon the 3rd died my Lady Thomas Howard’s8 son. Upon the 4th I went to see my Lady of Effingham9 at my Lady Lumley’s10 and went to sup at my Lady Shrewsbury’s11 where there was a great company and a play

in Anne Clifford’s autobiographical writing, 1590–1676
Bulletin of the John Rylands Library
Bulletin of the John Rylands Library